When it does get below freezing and there is - it's cold enough for ice to form, then that changes the whole landscape, and it makes the landscape a different landscape to the one that I worked with previously. And I want to understand that. But the big tension of the ice works is that they're often made when it's cold enough to freeze one piece of ice to another.

My art is an attempt to reach beyond the surface appearance. I want to see growth in wood, time in stone, nature in a city, and I do not mean its parks but a deeper understanding that a city is nature too-the ground upon which it is built, the stone with which it is made.

If I'm going to understand the land, I have to understand the wind, the snow, the rain, the leaves, the ice, and changes in temperature. It just reflects a reality for me.

The early firings contained many stones.

I can't edit the materials I work with. My remit is to work with nature as a whole.

Confrontation is something that I accept as part of the project though not its purpose.

There is life in a stone. Any stone that sits in a field or lies on a beach takes on the memory of that place. You can feel that stones have witnessed so many things.